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نوا نوا: مذكرات تاهيتي
بدأت العمل فوراً، دون تردد، بحرارة وحماسة شديدين، كنت مدركاً بأن سيطرتي عليها كموديل تعتمد على مهارتي كمصور، تماماً كما كنت مدركاً بأن الموضوع بالنسبة إليها هو بمثابة دعوة مغرية لا تقاوم.
لم تكن حسناء حسب مفاهيمنا الجمالية التقليدية.
ولكنها كانت جميلة للغاية.
تمتزج خطوطها وانحناءاتها بانسجام رفائيلي، فمها صنعه نحات ماهر عرف كيف يرسمه في خط واحد متحرك يختلط فيه الفرح كله مع العذاب كله.
لم تكن حسناء حسب مفاهيمنا الجمالية التقليدية.
ولكنها كانت جميلة للغاية.
تمتزج خطوطها وانحناءاتها بانسجام رفائيلي، فمها صنعه نحات ماهر عرف كيف يرسمه في خط واحد متحرك يختلط فيه الفرح كله مع العذاب كله.
96 pages, Paperback
First published January 1, 1901
About the author
Paul Gauguin
262 books49 followersGauguin was a financially successful stockbroker and self-taught amateur artist when he began collecting works by the impressionists in the 1870s. Inspired by their example, he took up the study of painting under Camille Pissarro. Pissarro and Edgar Degas arranged for him to show his early painting efforts in the fourth impressionist exhibition in 1879 (as well as the annual impressionist exhibitions held through 1882). In 1882, after a stock market crash and recession rendered him unemployed and broke, Gauguin decided to abandon the business world to pursue life as an artist full-time.
In 1886, Gauguin went to Pont-Aven in Brittany, a rugged land of fervently religious people far from the urban sophistication of Paris. There he forged a new style. He was at the center of a group of avant-garde artists who dedicated themselves to synthétisme, ordering and simplifying sensory data to its fundamentals. Gauguin's greatest innovation was his use of color, which he employed not for its ability to mimic nature but for its emotive qualities. He applied it in broad flat areas outlined with dark paint, which tended to flatten space and abstract form. This flattening of space and symbolic use of color would be important influences on early twentieth-century artists.
In Brittany, Gauguin had hoped to tap the expressive potential he believed rested in a more rural, even "primitive" culture. Over the next several years he traveled often between Paris and Brittany, spending time also in Panama and Martinique. In 1891 his rejection of European urban values led him to Tahiti, where he expected to find an unspoiled culture, exotic and sensual. Instead, he was confronted with a world already transformed by western missionaries and colonial rule. In large measure, Gauguin had to invent the world he sought, not only in paintings but with woodcarvings, graphics, and written works. As he struggled with ways to express the questions of life and death, knowledge and evil that preoccupied him, he interwove the images and mythology of island life with those of the west and other cultures. After a trip to France (1893 to 1895), Gauguin returned to spend his remaining years, marred by illness and depression, in the South Seas.
In 1886, Gauguin went to Pont-Aven in Brittany, a rugged land of fervently religious people far from the urban sophistication of Paris. There he forged a new style. He was at the center of a group of avant-garde artists who dedicated themselves to synthétisme, ordering and simplifying sensory data to its fundamentals. Gauguin's greatest innovation was his use of color, which he employed not for its ability to mimic nature but for its emotive qualities. He applied it in broad flat areas outlined with dark paint, which tended to flatten space and abstract form. This flattening of space and symbolic use of color would be important influences on early twentieth-century artists.
In Brittany, Gauguin had hoped to tap the expressive potential he believed rested in a more rural, even "primitive" culture. Over the next several years he traveled often between Paris and Brittany, spending time also in Panama and Martinique. In 1891 his rejection of European urban values led him to Tahiti, where he expected to find an unspoiled culture, exotic and sensual. Instead, he was confronted with a world already transformed by western missionaries and colonial rule. In large measure, Gauguin had to invent the world he sought, not only in paintings but with woodcarvings, graphics, and written works. As he struggled with ways to express the questions of life and death, knowledge and evil that preoccupied him, he interwove the images and mythology of island life with those of the west and other cultures. After a trip to France (1893 to 1895), Gauguin returned to spend his remaining years, marred by illness and depression, in the South Seas.
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September 11, 2020
مذكرات رحلة رسام الانطباعية الفرنسي الشهير بول غوغان إلى تاهيتي، التي قصدها - كما يذكر - بغرض البحث عن ذاته بين أحضان الطبيعة البكر بعيداً عن ضجيج الحضارة الأوربية. وقد تمّ له ما أتى من أجله بعد أن منحته تلك البلاد وأهلها أفضل ما لديهم من الحب والاحتواء والكرم اللامتناهي، إلا أنه - برأيي الشخصي - لم يكن على نفس القدر من النبالة.
" تأتون، تعِدون بالبقاء، وحين نحبكم تغادرون، تقولون بأنكم ستعودون، ولكنكم لا تعودون أبداً. "
" تأتون، تعِدون بالبقاء، وحين نحبكم تغادرون، تقولون بأنكم ستعودون، ولكنكم لا تعودون أبداً. "
March 7, 2010
This is a beautifully produced little edition of Gauguin's journal, a work of art in itself. I'm surprised I didn't comment on it when I read it a couple years ago. He describes moving to Tahiti, the friends he won over, the paintings he worked on, little bits of language he learns. He writes with an artists passion and even crosses over to the realm of complete fantasy.
August 31, 2018
رحلة فنان الى أرض تاهيتي العجيبة، ومذكراته عن بلاد مليئة بالجمال وسحر طبيعتها الخلابة وغرابة ثقافة اَهلها وأساطيرهم..
ينقسم الكتاب لقسمين، في القسم الاول ملاحظات بول غوغان عن شعب تاهيتي وثقافتهم بنظرة القادم من أوروبا بثقافته المتعالية ونظرته الدونية لكل ماهو غير أوروبي ولكن في القسم الثاني ينغمس غوغان في ثقافة وأساطير تاهيتي وينعكس تاثر غوغان بهذه الثقافة في أعماله الفنية وأشهرها لوحة متى تتزوجين وكانت بداية التمرد من غوغان على تعاليم الأكاديمية الفرنسية للفنون الجميلة وهي التي كانت تمنع وتحرم تصوير ثقافات مغايرة والتأثر بالطبيعة..
تمنيت لو أن الكتاب كان أكبر وأطول، فمن النادر أن تقرا مذكرات وتأملات فنان عن ثقافة شعب وجمال طبيعة ومغزى أسطورة..
كتاب قصير ولكنه ��ليئ ولذيذ!
ينقسم الكتاب لقسمين، في القسم الاول ملاحظات بول غوغان عن شعب تاهيتي وثقافتهم بنظرة القادم من أوروبا بثقافته المتعالية ونظرته الدونية لكل ماهو غير أوروبي ولكن في القسم الثاني ينغمس غوغان في ثقافة وأساطير تاهيتي وينعكس تاثر غوغان بهذه الثقافة في أعماله الفنية وأشهرها لوحة متى تتزوجين وكانت بداية التمرد من غوغان على تعاليم الأكاديمية الفرنسية للفنون الجميلة وهي التي كانت تمنع وتحرم تصوير ثقافات مغايرة والتأثر بالطبيعة..
تمنيت لو أن الكتاب كان أكبر وأطول، فمن النادر أن تقرا مذكرات وتأملات فنان عن ثقافة شعب وجمال طبيعة ومغزى أسطورة..
كتاب قصير ولكنه ��ليئ ولذيذ!
February 23, 2020
«ها أنذا رجل الحضارة والمدينة أشعر بدونيتي تجاه عالم المتوحشين هذا، وأني أحسدهم، أنظر إلى حياتهم السعيدة الآمنة وهم لا يبذلون أي جهد مستفيض لتأمين احتياجاتهم اليومية، ولا يهتمون على الإطلاق بشئ اسمه النقود، لمن يبيعون سلعهم ما دامت الطبيعة بمتناول الجميع؟»
June 22, 2017
In 1894, Paul Gauguin left France for Tahiti to get away from the decadence of Europe. What he found was beautiful islands, tropical warmth, and most importantly-unspoiled, undecadent, unEuropean and extremely beautiful people. This book was the journal he kept. It is quite a lovely book with his art work. His thoughts and his writing are quite lyrical. He also discovered that Europeans had already tried to change these beautiful people with their religion and customs. He lived there for two years and did some of his best work on the islands. 3.5 stars.
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August 28, 2021يمضي بول غوغان ما يقارب السنتين في تاهيتي وذلك بعد أن يهرب ما يصفها بالبلاد الفاسدة قاصدًا بذلك أوروبا.
ينطلق برحلة غنية بالحياة وسط شعب وبيئة لا تزال غضّة وخصبة ولم تتلوث ومرحبة بالإنسان وروحه، خلال رحلته هذه ينجز غوغان ما يقارب الستين لوحة، ويعبر عن ذلك بأن هؤلاء الناس الجهلة البدائيين قد قاموا بتعليم هذا الرجل العصري دروسًا ثمينة لن يجدها في أي مكان.
ينتقد غوغان بشكل واضحة وأوروبا والمسيحية وما تحاول فعله في هذه الأراضي العذراء من نشرٍ للمسيحية ومحاولة لطمس الهويات والأديان الأصلية لأصحابها.
في الصفحات الأخيرة يفرد غوغان عددًا لا بأس منه من الصفحات متحدثًا عن أساطير التاهيتيين أو الماووريين وآلهاتهم المختلفة.
- كتاب عذب أنصح به لتهذيب الروح وتهدئتها، لغة المترجمة كانت مفهومة وهادئة.
ينطلق برحلة غنية بالحياة وسط شعب وبيئة لا تزال غضّة وخصبة ولم تتلوث ومرحبة بالإنسان وروحه، خلال رحلته هذه ينجز غوغان ما يقارب الستين لوحة، ويعبر عن ذلك بأن هؤلاء الناس الجهلة البدائيين قد قاموا بتعليم هذا الرجل العصري دروسًا ثمينة لن يجدها في أي مكان.
ينتقد غوغان بشكل واضحة وأوروبا والمسيحية وما تحاول فعله في هذه الأراضي العذراء من نشرٍ للمسيحية ومحاولة لطمس الهويات والأديان الأصلية لأصحابها.
في الصفحات الأخيرة يفرد غوغان عددًا لا بأس منه من الصفحات متحدثًا عن أساطير التاهيتيين أو الماووريين وآلهاتهم المختلفة.
- كتاب عذب أنصح به لتهذيب الروح وتهدئتها، لغة المترجمة كانت مفهومة وهادئة.
June 27, 2019
(42)
ويحدث أن تملّ حياتك كلها، فتفضّل العيش في مكان جديد أقلّ تمدّناً وأكثر "وحشية! " كما عبّر بول غوغان في مذكّراته هذه. هذا الكتاب هو نتاج سنتين من العيش في تاهيتي: حياة أجمل وأكثر بساطة من الحياة المتمدنة، تستطيع فيها اكتشاف ذاتك الحقيقيّة والابتعاد عن تلك المزيفة المدنّسة بخطايا السنين المتراكمة. أحببت وصف الطبيعة والسكّان وتاريخ الجزيرة فالطبيعة الهادئة الجميلة حيث المياه والأشجار الكثيفة والغابات هي أفضل مكان للحياة😍 بول غوغان حاول أن يثبت لنفسه وللآخرين أنه ليس كالأشخاص الأوروبيين عديمي المشاعر لكنّه فشل في نهاية المطاف وهجر حبيبته وجيرانه والأصدقاء عائداً إلى فرنسا لتُعتبر رحلته هذه مجرد استراحة لرسم الكثير من اللوحات متجردةً من أي مشاعر حبّ وارتباط!
*تمّت*27/06/2019
ويحدث أن تملّ حياتك كلها، فتفضّل العيش في مكان جديد أقلّ تمدّناً وأكثر "وحشية! " كما عبّر بول غوغان في مذكّراته هذه. هذا الكتاب هو نتاج سنتين من العيش في تاهيتي: حياة أجمل وأكثر بساطة من الحياة المتمدنة، تستطيع فيها اكتشاف ذاتك الحقيقيّة والابتعاد عن تلك المزيفة المدنّسة بخطايا السنين المتراكمة. أحببت وصف الطبيعة والسكّان وتاريخ الجزيرة فالطبيعة الهادئة الجميلة حيث المياه والأشجار الكثيفة والغابات هي أفضل مكان للحياة😍 بول غوغان حاول أن يثبت لنفسه وللآخرين أنه ليس كالأشخاص الأوروبيين عديمي المشاعر لكنّه فشل في نهاية المطاف وهجر حبيبته وجيرانه والأصدقاء عائداً إلى فرنسا لتُعتبر رحلته هذه مجرد استراحة لرسم الكثير من اللوحات متجردةً من أي مشاعر حبّ وارتباط!
*تمّت*27/06/2019
October 21, 2016
The European invasion and monotheism have destroyed these vestiges of civilization which had its own grandeur. In contact with us, they have become "savages", in the sense which the Latin occident has given this word. (p.47)
More than anything else I enjoyed these remarks about the 19th century Tahitians made by Gauguin and his report on their intricate, lost Religion, all in the third half of his notebook. A great mind, as I have suspected.
More than anything else I enjoyed these remarks about the 19th century Tahitians made by Gauguin and his report on their intricate, lost Religion, all in the third half of his notebook. A great mind, as I have suspected.
May 18, 2015
3.75/5
March 27, 2021
Краткая история Таити, как филиала французского публичного дома) и ещё немного о звездах и тунцах
January 10, 2016
Paul Gauguin is one of my favorite painters. (Actually, as I write this, there is a print of his painting Mahana No Atua hanging next to me on my bedroom wall.) So, during my winter break, I decided to read his Tahitian journal, Noa Noa.
Noa Noa is a travelogue written by Gauguin, first published in 1901. Although, Gauguin billed the book as his genuine experiences, it seems pretty clear to me and other critics that it's mostly fictional or exaggerated. That being said, I found the book to be very interesting.
From a narrative perspective, Noa Noa is a bit dull. Gauguin's writing style has a tendency to be wordy and pedantic. However, from an ideological perspective it's quite interesting. To my mind, Gauguin is an excellent example of Romanticism and Romantic thought.
If you don't know, Romanticism was an artistic and ideological movement that reacted against the Enlightenment. Romantics believed that the world could not be understood purely though the lens of science and rational thought. Instead, the focused on emotion, individualism, the wonders of the national world, and the past.
Gauguin is famous for his disgust for European society, which he believed had become corrupted by industrialization and modernization. He journeyed to the island of Tahiti in search of a more authentic way of life which would connect him to nature and genuine human experience. As Gauguin says in Noa Noa:
All the joys -- animal and human -- of a free life are mine. I have escaped everything that is artificial, conventional, customary. I am entering into truth, into nature. Having the certitude of a succession of days like this present one, equally free and beautiful, peace descends on me. I develop normally and no longer occupy myself with useless vanities.
In some ways, this is lovely sentiment -- and it translates into lovely art. Gauguin's paintings are alluring and colorful, depicting a world that is a mixture of fantastical imaginings and sunlight. Romantic artists attempt to depict the world not as it is seen by the eye but how it is perceived by the human mind and soul. In large part, it is an effective rejoinder to the Neoclassical movement and resulted in the priceless works of artists like Caspar David Friedrich and Théodore Géricault (who, incidentally, are both on my list of favorite artists).
However, it is very easy to look at Gauguin's paintings, say they are beautiful and otherworldly, and forget that they were modeled on real people and real cultures. Noa Noa, besides being a perfect example of the the Romantic ideology, is also a problematic text. While reading, I winced more than once when Gauguin made an off hand remark about the inferiority or primitiveness of the Tahitian people. While he clearly admires their culture, there are also clear undertones of racism. He repeatedly refers to them as savages and notes that they are childlike.
In some ways, Gauguin's paintings rob their subjects of their humanity, making them stand-ins for his ideological quest instead of real people. One can make the argument that many artists use their subjects in similar ways, however Gauguin's paintings are particularly problematic in that they further stereotype and dehumanize a group of people who were already stereotyped and dehumanized. Perhaps the best example of this is Gauguin's description of a walk through the forest that he takes with a Tahitian friend:
With the suppleness of an animal and the graceful litheness of an androgyne he walked a few paces in advance of me...Was it really a human being walking there ahead of me? Was it the naive friend by whose combined simplicity and complexity I had been so attracted? Was it not rather the forest itself, the living Forest, without sex -- and yet alluring?
While his ideas have a sort of poetic resonance, they are extremely problematic when you consider that he is reducing a real person to vegetation. This makes Noa Noa a difficult text. Should one look at it as a reminder of a past dominated by racism and colonialism? Or, is it more helpful to set Gauguin's artistic achievements aside from his shortcomings as an individual? Whichever answer comes to mind, Noa Noa is certainly a text worth reading.
Noa Noa is a travelogue written by Gauguin, first published in 1901. Although, Gauguin billed the book as his genuine experiences, it seems pretty clear to me and other critics that it's mostly fictional or exaggerated. That being said, I found the book to be very interesting.
From a narrative perspective, Noa Noa is a bit dull. Gauguin's writing style has a tendency to be wordy and pedantic. However, from an ideological perspective it's quite interesting. To my mind, Gauguin is an excellent example of Romanticism and Romantic thought.
If you don't know, Romanticism was an artistic and ideological movement that reacted against the Enlightenment. Romantics believed that the world could not be understood purely though the lens of science and rational thought. Instead, the focused on emotion, individualism, the wonders of the national world, and the past.
Gauguin is famous for his disgust for European society, which he believed had become corrupted by industrialization and modernization. He journeyed to the island of Tahiti in search of a more authentic way of life which would connect him to nature and genuine human experience. As Gauguin says in Noa Noa:
All the joys -- animal and human -- of a free life are mine. I have escaped everything that is artificial, conventional, customary. I am entering into truth, into nature. Having the certitude of a succession of days like this present one, equally free and beautiful, peace descends on me. I develop normally and no longer occupy myself with useless vanities.
In some ways, this is lovely sentiment -- and it translates into lovely art. Gauguin's paintings are alluring and colorful, depicting a world that is a mixture of fantastical imaginings and sunlight. Romantic artists attempt to depict the world not as it is seen by the eye but how it is perceived by the human mind and soul. In large part, it is an effective rejoinder to the Neoclassical movement and resulted in the priceless works of artists like Caspar David Friedrich and Théodore Géricault (who, incidentally, are both on my list of favorite artists).
However, it is very easy to look at Gauguin's paintings, say they are beautiful and otherworldly, and forget that they were modeled on real people and real cultures. Noa Noa, besides being a perfect example of the the Romantic ideology, is also a problematic text. While reading, I winced more than once when Gauguin made an off hand remark about the inferiority or primitiveness of the Tahitian people. While he clearly admires their culture, there are also clear undertones of racism. He repeatedly refers to them as savages and notes that they are childlike.
In some ways, Gauguin's paintings rob their subjects of their humanity, making them stand-ins for his ideological quest instead of real people. One can make the argument that many artists use their subjects in similar ways, however Gauguin's paintings are particularly problematic in that they further stereotype and dehumanize a group of people who were already stereotyped and dehumanized. Perhaps the best example of this is Gauguin's description of a walk through the forest that he takes with a Tahitian friend:
With the suppleness of an animal and the graceful litheness of an androgyne he walked a few paces in advance of me...Was it really a human being walking there ahead of me? Was it the naive friend by whose combined simplicity and complexity I had been so attracted? Was it not rather the forest itself, the living Forest, without sex -- and yet alluring?
While his ideas have a sort of poetic resonance, they are extremely problematic when you consider that he is reducing a real person to vegetation. This makes Noa Noa a difficult text. Should one look at it as a reminder of a past dominated by racism and colonialism? Or, is it more helpful to set Gauguin's artistic achievements aside from his shortcomings as an individual? Whichever answer comes to mind, Noa Noa is certainly a text worth reading.
January 23, 2019
It was an artistic mission
Feverish expectancy
The place retains its original character of solitude and isolation
Orange sails on the blue sea, and often the line of reefs shown in a sudden silvery gleam under the sun
(Queen) dispersed grace everywhere about her, made everything she touched a work of art
Depleting primitive beauty
(Her Arms were like) two columns of temple, simple straight
Horizontal lines of shoulder
Black dress, with bare feet, and a fragrant flower behind the ear
For a long time I was caressed by the memory
The dream brutally disappointed by the actuality
To find the traces of past if any such traces remained?
Too violent contact with the waves and the rocks. To the left was the wilderness with its perspective of great forests
Mysterious sacred writing of the ancient Orient
I am learning to know the silence of a Tahitian night
These regular intervals of light suggest a musical instrument to me
At night by the grace of the moon calls forth in the memory of the dreamer well-loved melodies
A Maori hut does not separate man from life, from space, from the infinite
(Nature) is rich, she is generous, she refuses to no one who will ask his share of her treasures of which she has inexhaustible reserves in the trees, in the mountains
The landscape with it violent, pure colors, dazzled and blinded me
Single mobile line a mingling of all joy and all suffering
These large eyes --- fear and the desire for the unknown, the melancholy of bitter experience which lies at the root of all pleasures
Civilization (and its absurdities) are falling from me little by little
Clandestine and sadistic colors of love
Dense curtain of trees
Divine brutality
Through her dress of almost transparent rose-colored muslin one could see the golden skin of her shoulders and arms
Laughter and melancholy
Happiness and work rose up together with the sun, radiant like it
I enter into mysteries which hitherto remained inaccessible to me
A phosphorescent light was streaming from her staring eyes
Two opposite beings, infinitely varied, were mingled in one
Tehura is nothing but a black point in a circle of light:
Vague memories
Feverish expectancy
The place retains its original character of solitude and isolation
Orange sails on the blue sea, and often the line of reefs shown in a sudden silvery gleam under the sun
(Queen) dispersed grace everywhere about her, made everything she touched a work of art
Depleting primitive beauty
(Her Arms were like) two columns of temple, simple straight
Horizontal lines of shoulder
Black dress, with bare feet, and a fragrant flower behind the ear
For a long time I was caressed by the memory
The dream brutally disappointed by the actuality
To find the traces of past if any such traces remained?
Too violent contact with the waves and the rocks. To the left was the wilderness with its perspective of great forests
Mysterious sacred writing of the ancient Orient
I am learning to know the silence of a Tahitian night
These regular intervals of light suggest a musical instrument to me
At night by the grace of the moon calls forth in the memory of the dreamer well-loved melodies
A Maori hut does not separate man from life, from space, from the infinite
(Nature) is rich, she is generous, she refuses to no one who will ask his share of her treasures of which she has inexhaustible reserves in the trees, in the mountains
The landscape with it violent, pure colors, dazzled and blinded me
Single mobile line a mingling of all joy and all suffering
These large eyes --- fear and the desire for the unknown, the melancholy of bitter experience which lies at the root of all pleasures
Civilization (and its absurdities) are falling from me little by little
Clandestine and sadistic colors of love
Dense curtain of trees
Divine brutality
Through her dress of almost transparent rose-colored muslin one could see the golden skin of her shoulders and arms
Laughter and melancholy
Happiness and work rose up together with the sun, radiant like it
I enter into mysteries which hitherto remained inaccessible to me
A phosphorescent light was streaming from her staring eyes
Two opposite beings, infinitely varied, were mingled in one
Tehura is nothing but a black point in a circle of light:
Vague memories
October 25, 2009
Paul Gauguin's journal of his time in Tahiti, living with a native girl in an attempt to better understand the native Tahitian culture, and make himself a more free and natural artist by getting himself outside of the stifling Euorpean society he comes from. The journal provides a glimpse of Tahiti in the late 19th century and a glimpse into some of Gauguin's artisitc motivations and inspirations, but it also allows the reader to examine some interesting contradictions in Gauguin: he wants to become part of the Tahitian community he adopts as his home, and has a much better understanding and admiration of their customs than some other Europeans, but still is encumbered by his European background and sees things through a European filter even when attempting to leave European ideas behind. He finds love and happiness with the young native girl (the difference in their ages and the fact that he has left his wife in Europe is probably a barrier to complete sympathy with Gauguin for most readers), but suddenly leaves her and his adopted Tahitian community at the end of the journal to return home to Europe. In a way, despite his quest and his deepening understanding, he continues the European history of seeing Tahiti as a place to arrive at, conquer or use for his own purposes, and abandon when convenient.
This entire review has been hidden because of spoilers.
June 17, 2016
Dated, sexist, racist and problematic for a modern reader - but also a beautifully written masterpiece of literature and a pleasure to read. The only part of this travelogue that I found dull was the transcripts of Tahitian religion, which were boring and apparently (according to the preface in my edition) not very reliable.
March 28, 2021
هل سبق وأن استهوتك ثقافة ما لحد رغبتك في العيش وسطها؟ أشعر أن الكاتب يمر بهذا الشعور تجاه الماوورية، كتاب في مجمله جميل
June 25, 2019
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يحدث أن تغادر عالمك لعالم مغاير تفتش فيه
عن ذاتك التي لم تعرفها قط ، ويحدث أن يشدك
عالمك القديم إليه فتعود لتهيك الذي اعتدت عليه .
بين أيدينا مذكرات الرسام الفرنسي غوغان خلال التي
دونها خلال إقامته في تاهيتي تعرف بها على عادات الشعب
الأصلية التي كانت تلفظ أنفاسها الأخيرة أمام تأثر الزحف
الأوروبي ، ، غوغان كان في حالة من المقارنة الدائمة بين
ما هو أتي منه ومايشاهده ، حال من التأرجح بين مدنية
يعرفها كل المعرفة و شعب متوحش من وجهة نظر أبناء
عالمه .!
الغريب أن غوغان بعد كل تلك المقارنات والإحساس بمدى
بشاعة الصورة التي أخذها أبناء شعبه عن شعب تاهيتي
لم يكن تصرفه في أخر الرواية إلا نسخة طبق الأصل من
تصرفات أبناء جلده ، وكأنه أراد أن يؤكد أن لاقيمة للعاطفة
وأن الحب في مثل حالته تلك لا يُعوّل عليه أبداً.
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شكراً للطائر اللطيف على هذا الإهداء ~🌸📚
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#تمت
#أبجدية_فرح 3/5
#نوا_نوا_مذكرات_تاهيتي للكاتب #بول_غوغان
صادرة عن #دار_المدى ~🌸
مقال أنصح بالإطلاع عليه :
https://www.etarfanni.com/2019/06/07/...
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يحدث أن تغادر عالمك لعالم مغاير تفتش فيه
عن ذاتك التي لم تعرفها قط ، ويحدث أن يشدك
عالمك القديم إليه فتعود لتهيك الذي اعتدت عليه .
بين أيدينا مذكرات الرسام الفرنسي غوغان خلال التي
دونها خلال إقامته في تاهيتي تعرف بها على عادات الشعب
الأصلية التي كانت تلفظ أنفاسها الأخيرة أمام تأثر الزحف
الأوروبي ، ، غوغان كان في حالة من المقارنة الدائمة بين
ما هو أتي منه ومايشاهده ، حال من التأرجح بين مدنية
يعرفها كل المعرفة و شعب متوحش من وجهة نظر أبناء
عالمه .!
الغريب أن غوغان بعد كل تلك المقارنات والإحساس بمدى
بشاعة الصورة التي أخذها أبناء شعبه عن شعب تاهيتي
لم يكن تصرفه في أخر الرواية إلا نسخة طبق الأصل من
تصرفات أبناء جلده ، وكأنه أراد أن يؤكد أن لاقيمة للعاطفة
وأن الحب في مثل حالته تلك لا يُعوّل عليه أبداً.
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شكراً للطائر اللطيف على هذا الإهداء ~🌸📚
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#تمت
#أبجدية_فرح 3/5
#نوا_نوا_مذكرات_تاهيتي للكاتب #بول_غوغان
صادرة عن #دار_المدى ~🌸
مقال أنصح بالإطلاع عليه :
https://www.etarfanni.com/2019/06/07/...
September 19, 2013
This book is Gauguin complaining about how you can tell the French have colonized Tahiti while he is personally on a government mission, benefitting from government contacts, and sleeping with a 13 year-old Tahitian girl. It's curiously only tangentially about painting.
April 6, 2020
المذكرات كانت عبارة عن رحلة إلى تاريخ حضاري لسكان جزيرة تاهيتي الأصليين اللذين شُوِّهوت شخصيتهم المتأصلة بالطبيعة بالاجتياح المدني و الاإستعمار الاوروبي حتى باتوا كما يصفهم الكاتب بـ"المتوحشون" اللذين غابت أرواحهم الطيبة السعيدة في غياهب كهوف التمدّن.
يُسهب الكاتب في الحديث عن تفاصيل الديانة التاهيتيّة و التعريف بآلهاتهم و الأساطير المتعلقة بطقوسهم.
الإنغماس في حضاارة جديدة ممتع جدًا, السرد و الوصف جميل.
يُسهب الكاتب في الحديث عن تفاصيل الديانة التاهيتيّة و التعريف بآلهاتهم و الأساطير المتعلقة بطقوسهم.
الإنغماس في حضاارة جديدة ممتع جدًا, السرد و الوصف جميل.
July 21, 2018
قصة يحكي فيها بول غوغان عن حياته في تاهيتي، فيصف طبيعتها الخلابة، وشعبها، وحضارتها بعين الفنان الثاقبة. تقسم القصة فعليا إلى جزأين الأول وصف للحياة في تاهيتي في تلك الفترة ولعادات سكانها، وإدانة للسلوك الغربي والنظرة الغربية الدزنية لهذه الحضارة العريقة. يشمل الكتاب في قسمه الأخير عرضاً مع
بعض التحليل الفلسفي للأساطير والمعتقدات السائدة لدى الماووريين
بعض التحليل الفلسفي للأساطير والمعتقدات السائدة لدى الماووريين
January 1, 2019
مكتوبة بلغة شاعرية مرهفة لا مثيل لها.
"...و أهم من كل شيء علموني أن أعرف نفسي بشكل أفضل، تعلمت الحقيقة العميقة منهم، هل كان هذا سرك أيها العالم الغامض؟".
"...و أهم من كل شيء علموني أن أعرف نفسي بشكل أفضل، تعلمت الحقيقة العميقة منهم، هل كان هذا سرك أيها العالم الغامض؟".
May 3, 2021
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لو أود أختصر هذه المذكرات : مقت الحضارة الأوروبية و حب الحضارة و الطبيعة التاهيتية و العرق الماووري.
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لو أود أختصر هذه المذكرات : مقت الحضارة الأوروبية و حب الحضارة و الطبيعة التاهيتية و العرق الماووري.
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May 10, 2018
بدأت العمل فوراً،دون تردد،بحرارة وحماسة شديدين،كنت مدركاً بأن سيطرته عليها كموديل تعتمد على مهاراتي كمصور،تماماًوألا كنت مدركاً بأن الموضوع بالنسبة إليها هو بمثابة دعوة مغرية لاتقاوم.
لم تكن حسناء حسب مفاهيمنا الجمالية التقليدية.
ولكنها كانت جميلة للغاية.
تمتزج خطوتها وانحناءاتها بانسجام رفائيلي،فمها صنعه نحات ماهر عرف كيف يرسمه في خط واحد متحرك يختلط فية الفرح كله مع العذاب كله.
عملت بسرعة وهوس فقد كنت مدركاً بأن إذعانها لم. يكن كلياً،ارتعشت وأنا أقرأ في تلك العينين الواسعتين الخوف والرغبة في المعرفة المجهول،حزن التجربة المرّة الذي يكمن في جذور كل متعة،الشعور العفوي المكتمل بكونها سيدة نفسها،مثل هذة المخلوقات توهمنا بأنها تخضع لنا حين تمنح نفسها،ولكنها في الواقع تخضع لنفسها فقط ،تكمن فيها قوة تفوق قوة البشر العادية فيها شي حيواني مقدس.
لم تكن حسناء حسب مفاهيمنا الجمالية التقليدية.
ولكنها كانت جميلة للغاية.
تمتزج خطوتها وانحناءاتها بانسجام رفائيلي،فمها صنعه نحات ماهر عرف كيف يرسمه في خط واحد متحرك يختلط فية الفرح كله مع العذاب كله.
عملت بسرعة وهوس فقد كنت مدركاً بأن إذعانها لم. يكن كلياً،ارتعشت وأنا أقرأ في تلك العينين الواسعتين الخوف والرغبة في المعرفة المجهول،حزن التجربة المرّة الذي يكمن في جذور كل متعة،الشعور العفوي المكتمل بكونها سيدة نفسها،مثل هذة المخلوقات توهمنا بأنها تخضع لنا حين تمنح نفسها،ولكنها في الواقع تخضع لنفسها فقط ،تكمن فيها قوة تفوق قوة البشر العادية فيها شي حيواني مقدس.
December 18, 2021
عندما يكتب رسام فإنه يُبدع. ومن يكون هذا الرسام سوى بول غوغان الفنان الانطباعي الغني عن التعريف، فلوحاته شكلت الإستثناء وتجسدت في " نوا نوا يوميات تاهيتي"، وفي المقابل شكلت تاهيتي موضوع لوحاته الجميلة جدا، التي تمرد فيها عن قواعد الأكاديمية الفرنسية للفنون الجميلة. والجدير بالذكر أنه رغم الاختلاف الفني بينه وبين صديقه فان غوغ الذي عاش معه فترة وجيزة ، إلا أن تأثر كل واحد منهما بالآخر حقيقة لا مناص منها.
تاهيتي وما أدراك ما تاهيتي! كلما قرات عنها زاد افتناني بها. يغوص بكم بول غوغان في حضارة تاهيتي العميقة مابين الحاضر و الماضي، و مابين التشبث بالتقاليد والعادات و محاولات البعثات المستميتة لاطفاء فتيلها بشتى الطرق، و مابين الجمال الطبيعي و التمدن، ومابين استقرار حميم و استعمار وحشي، ومابين وبين يحكي بول غوغان بأسلوب بسيط وشيق ليغوص فجاة في صفحات في الميثولوجيا التاهيتية، لا اعرف لوهلة ظننت اني أقرأ لكل من فراس السواح او خزعل الماجدي . لن تعرف لها تصنيفا فتارة تتراءى كرواية وتارة كمذكرات وتارة اخرى كأحد كتب أدب الرحلات؛ هي الكل في الكل رغم عدد صفحاتها القليل. وتمنيت لو أطال بول غوغان الحكي والحكي والحكي.
تاهيتي وما أدراك ما تاهيتي! كلما قرات عنها زاد افتناني بها. يغوص بكم بول غوغان في حضارة تاهيتي العميقة مابين الحاضر و الماضي، و مابين التشبث بالتقاليد والعادات و محاولات البعثات المستميتة لاطفاء فتيلها بشتى الطرق، و مابين الجمال الطبيعي و التمدن، ومابين استقرار حميم و استعمار وحشي، ومابين وبين يحكي بول غوغان بأسلوب بسيط وشيق ليغوص فجاة في صفحات في الميثولوجيا التاهيتية، لا اعرف لوهلة ظننت اني أقرأ لكل من فراس السواح او خزعل الماجدي . لن تعرف لها تصنيفا فتارة تتراءى كرواية وتارة كمذكرات وتارة اخرى كأحد كتب أدب الرحلات؛ هي الكل في الكل رغم عدد صفحاتها القليل. وتمنيت لو أطال بول غوغان الحكي والحكي والحكي.
December 8, 2019
يروي الكتاب رحلة الكاتب بول غوغان إلى تاهيتي من خلال الكتاب يستشف القارئ النظرة الأوربية إلى قبائل التاهيتي .. فنرى الكاتب يصف الشعب الماووري مرات عديدة بالوحشية والبدائية.. وفي الوقت ذاته يسيطر سحر طبيعة تاهيتي على القارئ .. ويحكي الكاتب عن عادات الشعب الماووري عن أساطيرهم و إرتباطهم بآلهتهم ..
November 8, 2018
Проникно��ение! ☀️ 🕊️
November 15, 2019
Винаги съм харесвала загадъчните заглавия на книги - заглавия, включващи думи на съществуващи или несъществуващи езици, далечни, но красиви. Заглавия, които не разбирам докато не разлистя книгата, но които определено хващат окото и галят слуха. При тези книги разгадаването на смисъла на заглавието се превръща в истинско приключние, особено ако авторът наистина притежава писателски умения. "Ноа ноа" е една от тези книги със загадъчни, но красиви заглавия. Написана от небезизвестния френски художник Пол Гоген, тя е доказателство, че той е знаел не само как да си служи с четката, но и с перото. Когато разбрах за излизането на "Ноа ноа" знаех, че ще ме впечатли - комбинацията между пътепис, поезия и малка част художественост няма как да не ми допадне. Обичам книги, които могат да поберат повече от една форма в себе си, особено тези, които са наглед кратки и малки по обем, но съдържат в себе си цялата стихийност на живота и литературата.
В "Ноа ноа" Пол Гоген описва голяма част от преживяванията си в Таити, където прекарва две години от живота си (от 1891-1893 г.). След 69-дневно пътуване с кораб Гоген пристига в Таити - мястото, което избира с надеждата да избяга от цивилизацията и да намери поне малко уют и спокойствие (както и малко утеха след проблемите, изникнали един след друг в живота му). Може да се каже, че успява да намери това, което търси - описанията, които той прави на живота на местните жители на острова и ефекта, който те оказват върху него, са красиво предадени по страниците на "Ноа ноа". Когато чете, човек усеща полъха на вятъра, музиката на таитянското виво, звуците, издавани от птиците, но също така усеща и мрака и тишината, красотата и уязвимостта. След връщането си в Париж Гоген пресъздава всичко, което преживява на острова, в своите картини - таитянското творчество се превръща в може би най-емблематичната му серия от творби. Творбата, красяща прекрасната корица на това издание, е част от тази серия. Manau tupapau ("Духът на мъртвите ви наблюдава") изобразява Теура - жената, която Гоген среща в Таити и с която заживява. Всъщност доколкото разбирам все още се спори дали наистина той е имал отношения с нея и доколко морална би била една връзка между тях поради разликата във възрастта им. Каквато и да е истината, тя не може да обори факта, че картината е изящно красива и страшно подходяща за корица - както се разбира между страниците, жената и любовта между жената и мъжа, между ваине и нейния тане, е най-голямото вдъхновение на Гоген както за картините от серията, така и за "Ноа ноа".
Заглавието бива "разбулено" в една от главите, когато Гоген описва красотата на местните жени - те са първобитни, но изящни, с една силна, неподправена женственост, жени, от които струи живот и жизненост. Ароматът на кожата им се смесва с този на цветята и им придава още по-женствен вид. Човешкото тяло и природата смесват своя аромат и го превръщат в нещо, което трудно се описва, но въпреки това Гоген успява да предаде красотата в цялата картина:
От тях се разнасяше смесена животинска и растителна миризма, парфюмът на кръвта им и този на гардениите, които носеха, сплетени на венче в косите им.
Теине мераи ноа ноа (сега много ароматни), казваха те...
Прекрасните думи на Гоген от време на време биват прекъснати от също толкова прекрасните поеми на Шарл Морис - френски поет, приятел на Гоген, който се сдобива с ръкописа на "Ноа ноа" и се опитва да го продаде, тъй като изпада в дългове. "Ноа ноа" изминава дълъг и труден път преди да бъде публикувана, но в един момент това се случава и така любителите на изкуството, а и хората, които просто обичат да четат пътеписи и истории за приключения в далечни и непознати земи, получават шанса да се потопят в атмосферата на Таити през очите на Пол Гоген. За мен лично беше особено интересно да видя нещата през очите на художник и след това вплитането им с поеми, които прекрасно допълват разказа на художника. Тази комбинация прекрасно предава емоциите, които човек изпитва, докато чете - смирение и удивление пред красотата на природата и човека, но също така и екстаз, вълнение и адреналин, непрекъсната емоция, която разтуптява сърцето и разтърсва съзнанието. Спокойствие и буря в едно - точно това ни дава тази малка, но красива книжка. Изкуство и поезия се вплитат по прекрасен начин и резултатът е едно невероятно пътешествие на душата и сърцето.
В "Ноа ноа" Пол Гоген описва голяма част от преживяванията си в Таити, където прекарва две години от живота си (от 1891-1893 г.). След 69-дневно пътуване с кораб Гоген пристига в Таити - мястото, което избира с надеждата да избяга от цивилизацията и да намери поне малко уют и спокойствие (както и малко утеха след проблемите, изникнали един след друг в живота му). Може да се каже, че успява да намери това, което търси - описанията, които той прави на живота на местните жители на острова и ефекта, който те оказват върху него, са красиво предадени по страниците на "Ноа ноа". Когато чете, човек усеща полъха на вятъра, музиката на таитянското виво, звуците, издавани от птиците, но също така усеща и мрака и тишината, красотата и уязвимостта. След връщането си в Париж Гоген пресъздава всичко, което преживява на острова, в своите картини - таитянското творчество се превръща в може би най-емблематичната му серия от творби. Творбата, красяща прекрасната корица на това издание, е част от тази серия. Manau tupapau ("Духът на мъртвите ви наблюдава") изобразява Теура - жената, която Гоген среща в Таити и с която заживява. Всъщност доколкото разбирам все още се спори дали наистина той е имал отношения с нея и доколко морална би била една връзка между тях поради разликата във възрастта им. Каквато и да е истината, тя не може да обори факта, че картината е изящно красива и страшно подходяща за корица - както се разбира между страниците, жената и любовта между жената и мъжа, между ваине и нейния тане, е най-голямото вдъхновение на Гоген както за картините от серията, така и за "Ноа ноа".
Заглавието бива "разбулено" в една от главите, когато Гоген описва красотата на местните жени - те са първобитни, но изящни, с една силна, неподправена женственост, жени, от които струи живот и жизненост. Ароматът на кожата им се смесва с този на цветята и им придава още по-женствен вид. Човешкото тяло и природата смесват своя аромат и го превръщат в нещо, което трудно се описва, но въпреки това Гоген успява да предаде красотата в цялата картина:
От тях се разнасяше смесена животинска и растителна миризма, парфюмът на кръвта им и този на гардениите, които носеха, сплетени на венче в косите им.
Теине мераи ноа ноа (сега много ароматни), казваха те...
Прекрасните думи на Гоген от време на време биват прекъснати от също толкова прекрасните поеми на Шарл Морис - френски поет, приятел на Гоген, който се сдобива с ръкописа на "Ноа ноа" и се опитва да го продаде, тъй като изпада в дългове. "Ноа ноа" изминава дълъг и труден път преди да бъде публикувана, но в един момент това се случава и така любителите на изкуството, а и хората, които просто обичат да четат пътеписи и истории за приключения в далечни и непознати земи, получават шанса да се потопят в атмосферата на Таити през очите на Пол Гоген. За мен лично беше особено интересно да видя нещата през очите на художник и след това вплитането им с поеми, които прекрасно допълват разказа на художника. Тази комбинация прекрасно предава емоциите, които човек изпитва, докато чете - смирение и удивление пред красотата на природата и човека, но също така и екстаз, вълнение и адреналин, непрекъсната емоция, която разтуптява сърцето и разтърсва съзнанието. Спокойствие и буря в едно - точно това ни дава тази малка, но красива книжка. Изкуство и поезия се вплитат по прекрасен начин и резултатът е едно невероятно пътешествие на душата и сърцето.
November 24, 2019
"Noa Noa e altri racconti" sembra un diario, anche se non ha la struttura tipica di questa forma letteraria, ma permette di entrare ancora di più nel mondo di Gauguin e della sua arte. Un diario-documento diviso in ben tre fasi che testimoniano i pensieri e le emozioni del pittore in una fase delicata e importante della sua vita.
Un diario che, dopo anni, in Europa, lo porta a Tahiti tra il popolo di promitivi, ma anche in mezzo a tonalità e colori lussureggianti di quel luogo che diventa fondamentale nella sua arte. Sono colori che diventano parte di lui e del suo mondo unico.
Continua poi con l'epistolario indirizzato da Daniel De Monfreid, pittore francese che diventa il suo confidente al quale Gauguin esprime dubbi, perplessità e paure, in generale. La terza e ultima parte culmina con i Frammenti che sono i pensieri di Gauguin, compresa la sua amicizia con Van Gogh.
Un diario che racconta il pittore, l'uomo e la sua arte, ma anche un periodo importante che terminerà con alcuni dei suoi quadri più celebri come "Le donne di Tahiti" in cui l'espressione del colore è più vivida che mai.
Un diario che, dopo anni, in Europa, lo porta a Tahiti tra il popolo di promitivi, ma anche in mezzo a tonalità e colori lussureggianti di quel luogo che diventa fondamentale nella sua arte. Sono colori che diventano parte di lui e del suo mondo unico.
Continua poi con l'epistolario indirizzato da Daniel De Monfreid, pittore francese che diventa il suo confidente al quale Gauguin esprime dubbi, perplessità e paure, in generale. La terza e ultima parte culmina con i Frammenti che sono i pensieri di Gauguin, compresa la sua amicizia con Van Gogh.
Un diario che racconta il pittore, l'uomo e la sua arte, ma anche un periodo importante che terminerà con alcuni dei suoi quadri più celebri come "Le donne di Tahiti" in cui l'espressione del colore è più vivida che mai.
June 14, 2018
3.75 stars - I enjoyed the way Gauguin painted this view of Tahiti and his diligence in recording all of the gods and goddesses of that place. I found some parts to be beautifully written and others dull. I particularly enjoyed the last section about the double-hauled canoe with the phosphorescent trail sailing in the night back to shore after a day of fishing and legends.
His child bride, while a disturbing concept, was my favorite character. In his words and his view of her, she had a mesmerizing combination of wisdom and immaturity. I loved the sorrowful, playful depth of her character in the book. I am going to look up photos or paintings of her now to put a face with her beautiful name.
The end left me wishing for a sequel, I wanted to know what became of Tehura's life after Gauguin leaves her on the rock and if they met again when Gauguin returns from France for the last years of his life (although I hope she found a lover who could truly provide for her emotionally and culturally).
His child bride, while a disturbing concept, was my favorite character. In his words and his view of her, she had a mesmerizing combination of wisdom and immaturity. I loved the sorrowful, playful depth of her character in the book. I am going to look up photos or paintings of her now to put a face with her beautiful name.
The end left me wishing for a sequel, I wanted to know what became of Tehura's life after Gauguin leaves her on the rock and if they met again when Gauguin returns from France for the last years of his life (although I hope she found a lover who could truly provide for her emotionally and culturally).
This entire review has been hidden because of spoilers.
June 26, 2020
اسم الكتاب: #مذكرات_تاهيتي
عدد الصفحات: 100
التصنيف: #مذكرات
نبذة عن الكتاب:"
مذكرات الفنان الشهير بول غوغان إلى "تاهيتي"
الأرض المضيافة ، أرض المتعة ، منزل الجمال والحرية التي قصدها بغرض الابتعاد عن ضجيج الحضارة الأوروبية ليبدأ رحلة البحث عن ذاته.
رأيي الشخصي:
من النادر أن نقرأ مذكرات عن تأملات فنان أو كاتب حول أرضٍ خلابة كتلك ، مليئة بالطبيعة الساحرة
مضمنًا بين الأسطر أمتع الأحاديث عن اساطيرهم ومعتقداتهم
تمنيت حقًا لو كان الكتاب أطول
مع ذلك فقد تعجبت من غوغان لقد كان في حالة دائمة من المقارنة بين ما اتى منه والمكان الذي هو فيه، بدا وكأنه يحاول أن يُثبت أنه مغاير عن ابناء جلدته الأوروبيين تمامًا !
لكنه في نهاية المطاف أثبت أنه لا يختلف عنهم بل هو أسوأ فقد هجر زوجته وجيرانه وجميع الاصدقاء
مُغادرًا أرض الطبيعة الخلاّبة ، عائدًا مرة أخرى لنقطة البداية "فرنسا" وكأن هذه الرحلة مجرد وقت للتسلية ورسم اللوحات.!
تقييمي: 5/4 غيداء .
عدد الصفحات: 100
التصنيف: #مذكرات
نبذة عن الكتاب:"
مذكرات الفنان الشهير بول غوغان إلى "تاهيتي"
الأرض المضيافة ، أرض المتعة ، منزل الجمال والحرية التي قصدها بغرض الابتعاد عن ضجيج الحضارة الأوروبية ليبدأ رحلة البحث عن ذاته.
رأيي الشخصي:
من النادر أن نقرأ مذكرات عن تأملات فنان أو كاتب حول أرضٍ خلابة كتلك ، مليئة بالطبيعة الساحرة
مضمنًا بين الأسطر أمتع الأحاديث عن اساطيرهم ومعتقداتهم
تمنيت حقًا لو كان الكتاب أطول
مع ذلك فقد تعجبت من غوغان لقد كان في حالة دائمة من المقارنة بين ما اتى منه والمكان الذي هو فيه، بدا وكأنه يحاول أن يُثبت أنه مغاير عن ابناء جلدته الأوروبيين تمامًا !
لكنه في نهاية المطاف أثبت أنه لا يختلف عنهم بل هو أسوأ فقد هجر زوجته وجيرانه وجميع الاصدقاء
مُغادرًا أرض الطبيعة الخلاّبة ، عائدًا مرة أخرى لنقطة البداية "فرنسا" وكأن هذه الرحلة مجرد وقت للتسلية ورسم اللوحات.!
تقييمي: 5/4 غيداء .
August 4, 2014
"However depressed I may be I am not in the habit of giving up a project without having tried everything, even the 'impossible', to gain my end."
"The blue line of the sea was frequently broken by the green of the wave-crests falling on the breakwater of coral."
"All the joys -- animal and human -- of a free life are mine. I have escaped everything that is artificial, conventional, customary. I am entering into the truth, into nature. Having the certitude of a succession of days like this present one, equally free and beautiful, peace descends on me. I develop normally and no longer occupy myself with useless vanities."
Paul Gauguin
"The blue line of the sea was frequently broken by the green of the wave-crests falling on the breakwater of coral."
"All the joys -- animal and human -- of a free life are mine. I have escaped everything that is artificial, conventional, customary. I am entering into the truth, into nature. Having the certitude of a succession of days like this present one, equally free and beautiful, peace descends on me. I develop normally and no longer occupy myself with useless vanities."
Paul Gauguin
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